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Wondo

ES 345 Reissue Info

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Does anyone here own one? I would like to know some thoughts on this guitar. How do the two output jacks work?

 

Here is a quote from a review on line. I am wondering if this is true:

 

Unlike the original ES345, which had only one stereo output jack, and required a stereo jack to engage both pickups, the current incarnation of the ES-345 has two output jacks, one is labeled “Mono” and one is labeled “Stereo.” Output jack # 1 is the Mono Jack, and when this is used alone, both pickups are fed through this output, just like any other conventionally wired guitar. However, if you want to play in Stereo, you must connect one standard guitar cord to Output Jack # 1, which is labeled “Mono,” and another standard guitar cord must be connected to Output Jack # 2, which is labeled “Stereo.” With this setup, Output Jack # 1 carries the signal from the neck pickup, and Output Jack # 2 carries the signal from the bridge pickup. Think of the sonic possibilities for live performance. You might have one pickup going to an amp, with completely different settings and/or effects one the right side of the stage, and have the other pickup going to a different amp, also with different settings and/or effects on the left side of the stage. With the flip of the toggle switch, you could have your lead coming from the right side, then the left side of the stage, with a radically different sound from each, and even have both pickups driving two different amps at once with the toggle switch in the center position. Think of the sonic possibilities of having different effects hooked up to each pickup, and simultaneously having two radically different sounds coming from two sides of the stage at once. The sonic possibilities are limitless for the creative musician.

 

See the full review here: ES 345

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Thanks. I would think with these capabilities, it has to be one of Gibson's unsung heroes. I think I am going to order one.

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Robin,

I see in previous posts that you got rid of your 66 345 in favor of the newer Memphis one. You mention that the neck was too thin. Was it that the fretboard was too thin and the newer one is wider or was the slim taper too small? Because the new Memphis versions have a "slim taper" as well. However, I own a Lifeson 355 made in the Memphis Custom shop with a "slim taper" and I would say that it is not the kind of slim taper you would find on a Les Paul Classic with the super skinny neck.

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Thanks. I would think with these capabilities' date=' it has to be one of Gibson's unsung heroes. I think I am going to order one. [/quote']

 

Well it's interesting.

 

There is a bunch of enthusiasts who swear by the 345.

 

On the other hand, a lot of players feel that the only Varitone setting that sounds any good is position 1, which is the bypass.

 

And the first thing that a lot of players do when they buy a 345 is to try and mono-ise it. This is not always successful because the config of the tone circuits can result in unwanted interference if you simply solder the two actives together.

 

My amp tech who has extensive dealings with "industrial" players tells me that for most of these people, simplicity is the main consideration. There is so much to think about when they are playing live that the last thing on their minds is additional complexity in the guitar.

 

 

Robin' date='

I see in previous posts that you got rid of your 66 345 in favor of the newer Memphis one. You mention that the neck was too thin. Was it that the fretboard was too thin and the newer one is wider or was the slim taper too small? Because the new Memphis versions have a "slim taper" as well. However, I own a Lifeson 355 made in the Memphis Custom shop with a "slim taper" and I would say that it is not the kind of slim taper you would find on a Les Paul Classic with the super skinny neck. [/quote']

 

The '66 probably had what you would call the super skinny neck that I understand was common around this time. The nut was 1 5/8" (too crowded for me, I like a 1 11/16" like a Fender American Standard) and the profile was very slim i.e. not a lot of depth.

 

The 2002 has a neck with a profile more like an AmStd but maybe a tad fatter.

 

RN

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Robin,

How do you think the new 345 sounds? Does it compare to the 66 you owned before. I am just concerned that the Varitone may step on the tone a bit as compared to an ES without the Varitone.

 

Thanks

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Robin' date='

How do you think the new 345 sounds? Does it compare to the 66 you owned before. I am just concerned that the Varitone may step on the tone a bit as compared to an ES without the Varitone.

 

Thanks[/quote']

 

The '66 with flatwounds going into my 74 Pro Reverb was instant Kenny Burrell/L5. (Actually pretty much anything going into the Pro sounds great.)

 

The 2002 took a bit of tweaking - and it didn't work well with flats - a big loss of volume.

 

I am happy with the sound now but it is still not as full as the '66.

 

I don't use the Varitone continuously - mostly I just use the bypass setting - but sometimes it's nice to have the choice.

 

RN

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Robin,

Thanks again. Great info. I have one more question at this point, as my new 345 will arrive Tuesday and obviously most questions will be answered then. What kind of frets? I am hoping it has the low profile jumbos. I have the Lifeson 355 with the low profile jumbos and the neck just plays so well - very fast.

 

Thanks

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Robin' date='

Thanks again. Great info. I have one more question at this point, as my new 345 will arrive Tuesday and obviously most questions will be answered then. What kind of frets? I am hoping it has the low profile jumbos. I have the Lifeson 355 with the low profile jumbos and the neck just plays so well - very fast.

 

Thanks[/quote']

 

Wow only one sleep to go!!

 

Umm.... isn't it a bit late to be asking about frets? =D>

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Well,

The report is not good. I was able to find out about the frets before the guitar shipped. I found out from Memphis. They are .90 wide and .52 tall which was good for me since the height is usually lower once they are dressed. However, upon receiving the guitar I noticed that the frets were rounded off before the fretboard edge causing the e string to slip off easiy when playing. I brought it to my luthier (Master Luthier) and he said it needs a new fret job. So, I immediately sent it back to the dealer. I was not going to fuss with the Gibson warranty issue since basically, I will need a new guitar. I don't want a refretted guitar that is brand new.

 

However, aside from that glaring mistake, the guitar was flawless. Perfect finish. Great finish and color. Binding all in perfect order (except for the where the frets meet the binding as described above). Very open and resonant guitar with very articulate tones. I love the Varitone on that one and the stereo was very cool. As much as I love the 345 and what it can do, I really do not think I want to buy another guitar from Memphis. I heard many horror stories about them, one being the problems with the Lifeson (which I own and happen to have lucked out). For me the only Gibsons worth buying anymore seems to be the Nashville Custom Shop. What a shame they practically ruined what would otherwise be a fantastic guitar.

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Wondo,

 

I'm really sorry to hear about the fret issues but was pleased to hear that you liked the rest of it.

 

It can be a risky business buying without trying.

 

Will you now try to look for something off the hook?

 

RN

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